Using bold typefaces, asymmetrical composition and primary colors, Chermayeff & Geismar sought order and readability and avoided the more dogmatic aspects of the rigid 50's Swiss style, like its reliance on one typeface (Helvetica) and monochromatic photography.
Formatting of the text e.g., font size, use of bold typeface, use of bullets, simplified sentences, and useful pictures or diagrams all contribute to its general readability.
The New York City symbol, which consists of the letters "NYC" in a bold typeface, is already being used on New York taxis and in a tourism-promotion campaign for the city that features famous residents like Robert De Niro.
He used brief telegraphic text, bold typefaces placed at an angle, and bright colours to attract attention and to convey his client's message quickly and effectively.
Not until 1884 did the Italian printer Giambattista Bodoni use boldface to describe a darkly thick, or bold, typeface, which looks like this and is easily distinguished from lightface type.
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The use of typographic salience, on the other hand, facilitated vocabulary learning because target items in bold typeface and underlined were not only written down more frequently in language learners' notes, they were also recalled more often compared to target items not typographically enhanced.
This bias in relative size perception was modulated somewhat by a change to a bold typeface, but the typeface effect varied in a complex manner with the size and location of the tags.
For example, she advises that we should beware of concentrating excessively on things in "bold typeface", which are generally simplifications.
The bold typeface is intentional.
